Birdy Tg



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The Artist

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In his artist's career, Birdy Tg decided from the beginning not to participate in art contests. He has always considered competitions as a waste of time for him, in an extremely busy schedule being both a visual artist and a writer. Working, working more and more, never stopping, devoting all his time to creation, is his only goal. "Life is far too short to afford to waste time" he always repeats. By early 2018, when he felt he was entering a new era for his work, he decided to try the experience of participating in a few competitions for a year, no more, as a culmination of his past work. During this one-year period only, he was awarded no less than 19 times in international competitions. Then, when that year was over and as he had pledged, he has since ceased all participation in competitions.


        "Fine-Art" Category for « Lux Ex Tenebris » by Birdy Tg.



        Portfolio Category for "Echoes of Outer Voices and Subtle Clues" series.



        “Alternative Process” Category for "Echoes of Outer Voices and Subtle Clues" series.



        “Open Theme” Category for "Echoes of Outer Voices and Subtle Clues" series.



        “Manipulation/Collages” Category for "Echoes of Outer Voices and Subtle Clues" series.



        “Fine-Art” Category for "Echoes of Outer Voices and Subtle Clues" series.



        "Portfolio" Category - Fine Arts for "Echoes of Outer Voices and Subtle Clues" series.



         for “Lord of Butterflies” artwork.



         for “Legacy Cells” artwork.



         for “Lux Ex Tenebris” artwork.


·       GOLD MEDAL WINNER (First prize - Best Creative Photograph of the Year) at the INTERNATIONAL

         EYEWIN AWARDS 2018  - INDIA

         for “Insomnia” artwork.




·       SHORTLISTED into the 12 Finalists List at the GLOBAL ART AWARDS 2018 - DUBAI (U.A.E.)



        for “The Last Supper” (Tête à Tête) artwork.


·       NOMINATED at the COLOR AWARDS 2019 – USA

        for “Fate of Innocence” by Birdy Tg.


·       NOMINATED at the COLOR AWARDS 2019 – USA

         for “Insomnia” by Birdy Tg.


·       CO-WINNER of THE TUSIS PROJECT OF ART – The Tusis Book : Manipulated Images - USA

Birdy Tg is a French visual artist (photographer, painter, sculptor) and writer (novelist, essayist, philosopher, poet). Passionate since a very young age by Art in all its forms, he completed his university studies by scientific studies for which he obtained a Doctorate. A journey, unusual for an artist, leading to an atypical work. He defines himself, above all, as a storyteller and a humanist philosopher.

Among his various artistic skills, he always favours the one that allows him to express himself artistically with the most sincere emotion. Each discipline must be complementary to the other and, in no way, any repetition. So he refrains from using Visual Art as a simple illustration of his novels (and vice versa) and he willingly promotes allegory, thanks to which he can find the freedom to reinforce the purpose and to deepen the philosophical questioning. Birdy Tg particularly loves interdisciplinary symbiosis and synergy, relentlessly catalysing his quest for a renewal of Global Art.

Art critics have described his work as conceptual, philosophical, narrative, allegorical, dreamlike, romantic, symbolic and diegetic. The artist most often questions human nature, its equivocal and dangerous border zones beyond which everything can suddenly switch, but also the human soul and its emotional imprints, as well as all the great mysteries of life to which man has always had to confront itself with, through History, Art, Literature, Philosophy, Psychology, Psychoanalysis, Religion and Science.

For his visual creations, Birdy Tg uses Photography in an unconventional way. He uses photographic pixels as a painter works with his pigments and brushes on the canvas. Furthermore, he never excludes concomitant use of drawing and painting.

Its artistic goal is most certainly to recreate the splendour and the sharp sense of detail, the exuberance of clues and codes, which made the great days of classical painting, but in a very contemporary way, exploiting all modern technologies at its disposal, while regularly developing innovative approaches. If he fully masters all photographic techniques, he denies them as the sole purpose,  considering them only as simple, though useful means to reach his paradigm.
His favorite artistic expression undoubtedly resides in the realisation of very large complex frescoes, performed by digital collage, in which he can go as far as including several thousands of individual photographs and several hundred of drawn or painted parts. This implies a very long and very meticulous work which can require up to,  or even more than 6 months of constant work for the realisation of a single artwork, thus making the work of Birdy Tg, one of the most accomplished in the world in his speciality.

There can be no accident, no approximation, in his work. Everything must be carefully prepared in advance - from the philosophical statement to the identification of the visual keys relating to the questioning of the work, from the preparatory sketches to the perfect realisation of the individual shots - in order to allow a perfect construction and a flawless finalisation thanks to which he can create, from a scene initially virtual - but actually made up of thousands of juxtaposed small realities - the miraculous evidence of an ever existing truth in which its witness can henceforth believe and project himself with confidence and insurance.

His imposing works capture the viewer inside his very particular personal universe, for an experience of total immersion, inviting him to an irrefutable treasure hunt for all the clues and evidence purposefully swarmed in the work. This is how Birdy Tg encourages its audience to go beyond its traditional expectative passivity to become a real actor involved in the center of an investigation and a reflection that will allow him to take a position on the underlying philosophical questioning that the artist submits.

Stranger to all traditional classifications and very distant from the tide of redundant photographic images to which we are subjected every day, the unique style of Birdy Tg is immediately identified. It is obviously a very intellectual work, but Birdy Tg strives, through the many levels of reading offered, from the evidence of primary aesthetics to the most hermetic degree, to make his work accessible to each. Children, just as much as aesthetes and art specialists can each find subject, interest and pleasure.

Sandrine Gulian – Artist’s Biographer


Genesis of A Conceptual Series

Detail of " Do you Know how long a Butterfly Lives? "

Birdy Tg - The Fabulous Opera Series

© all rights reserved


"...I confided to Ben the nightmares of my days and the dreams of my absences. Some, too heavy to evaporate in the sun, swooped down on me in a tudesque horde of bituminous crows, zealous scavenger shroud, without faith or law, bible-black choking sky, fraught with fateful consequences for the little stillborn king, alone and without the word or the world, a broken-hearted tyke, without you or me, a solar sailor riding the flow, thirsty for life, drifting away, motionless, stranded on the burning tarmac of a dead-end bypath with no tomorrow signs, a ground to be silenced for the apprentice tightrope walker I wanted to be, dreaming not of eternity but only of a first step, even on a razor's edge... Others, as elusive as Dantesque floods, abandoned my broken-down ego to the hallucinated greed of blue and black tsunamis engulfing me under their ferocious streamrollers, hurling me down against walls of liquid harder than tempered steel, and I sank backwards ever deeper, crying endless strings of saltwater pearls that clutched my throat while my eyes looked out, helplessly and wistfully, the great golden candlestick passing in other hands..."

Excerpt from " The Fabulous Opera " Novel - Birdy Tg - 2019 


«… J’ai livré à Ben les cauchemars de ma vie et les rêves de mes absences. Certains, trop pesants pour s’évaporer au soleil, fondaient sur moi en une horde tudesque de corbeaux bitumineux, linceul charognard zélé, sans foi ni loi, ciel noir éteignoir, lourd de conséquences funestes pour le petit roi mort-né, seul et sans le mot, marmot au cœur brisé, sans toi ni moi, navigateur solaire au fil de l’eau, de vie assoiffé, partant à la dérive, immobile, traversée échouée sur le macadam brûlant d’un chemin de traverse sans lendemain, terre à taire pour l’apprenti funambule que je voulais être, rêvant non d’éternité mais seulement d’un premier pas, fût-il sur le fil du rasoir… D’autres, aussi insaisissables que des crues dantesques, m’abandonnaient en rade à la gourmandise hallucinée de tsunamis bleus et noirs m’engloutissant sous leurs féroces rouleaux compresseurs, me projetant à vau-l’eau contre des murs de liquide plus dur que l’acier trempé, et je m’enfonçais à rebours toujours plus profondément, pleurant d’interminables chapelets de perles d’eau salée qui m’enserraient la gorge pendant que mes yeux exorbités regardaient, impuissants et nostalgiques, le grand chandelier d’or passer dans d’autres mains…»

Extrait du Roman " L'Opéra Fabuleux " - Birdy Tg - 2019 

The Story

« He only dreamed of a normal life, but his fate offered him a Fabulous Opera ...
This is the story of Derek Rose ... »


Detail of "ONE" - Birdy Tg

The Fabulous Opera Series

© all rights reserved


" … I became a Fabulous Opera: I saw that all beings have a fatality of happiness ...  This gentleman does not know what he is doing : he is an Angel…"

Excerpt from " A Season in Hell "

Arthur Rimbaud - 1873

The Story behind… The Fabulous Opera


      «I dreamed of a social chronicle, well anchored in our contemporary world, which would be crossed by some of the major events that made the great revolutions and conquests of the 20th century, a plea for the defence of the poor, the crippled and excluded from life, thus highlighting the objectives and the great battles that our society is no longer entitled to ignore, underestimate or put back on the Cimmerian calendars ...
I dreamed of a work in line with Puccini’s «La Bohème», an opera paying homage to the miserable, to youth and to art, in which dream and hope could freely mix with reality and desperation  without any constraints ...
I dreamed of an ode to literature in which all the genius and ill-being of an Arthur Rimbaud would meet with all the requirement and sagacity of Victor Hugo, or in which all the unwavering faith of Dante Alighieri would accord with the urgent doubt emanating from the constant imperative of research of a Stéphane Mallarmé, and, while I was at it, I even dared to imagine the adulterous loves of Blaise Pascal with Sigmund Freud…
I dreamed of a wild and infinite painting giving all freedom to the madness of a Vincent Van Gogh as much as to the pure romanticism of Caspar David Friedrich, to the urgent freedom of Urban Art as much as to the codes abstruse of a Sacred Art. I even think I ended up celebrating, in the soft underbelly of time, the surrealist union of Baroque with Abstract ...
I dreamed of an hymn to Hope, to Fraternity, to Freedom and Love ...
Yes, I dreamed of each of these hazardous concepts and wild values, and I wanted them all at once, in one go! Everything was possible…

       After four years of continuous work, «The Fabulous Opera» was born in the form of a very large pictorial series made up of the succession of diegetic images in dreamlike decorations, but also of a saga of four novels and an art book.
     Was «The Fabulous Opera» a sublime dream or a suicidal nightmare ? A dithyramb for the friendship of the «Broken Hearts», to life, to death, or a permanent, desperate but diehard fight led by the homeless against the relentless adversity of loneliness? Was it «The Biggest Show Ever Created in the World» or the banal reality of everyday life ? The final defeat against dementia or the triumph of Art by its sublimation ?
It was, in fact, each and all of these.
And it was much more : It was all of that at once !


     «The Fabulous Opera» is, above all, a philosophical reflection on life, chance, death, religion, dream, realism, human relations, society, tolerance, exclusion, psychic alterations and mental illness, art and art therapy, etc ... a study and an odyssey that seeks to show how much the conditions and origins of birth can weigh as much on the psyche as on the pneuma and, more broadly, over the life course of anyone born and raised in disadvantaged, adverse or tragic conditions.
All psychological studies show that, in such circumstances, there is only a very small chance, if not none, of being able to escape social discrimination and real personal disaster. The only residual hope then resting solely on the ability to be born with a strong character, an irrepressible energy and an irrefragable desire to live. However, this may still prove to be insufficient. Indeed, it then appears as essential, if not vital, to cross at the most hazardous moment — thus the most justly appropriate and, therefore, probably the least chance… — the path of truly dedicated and charitable people and, above all, true friends ... and, perhaps, whether we believe it or not, to welcome the benevolent help and the noble protection of your Guardian Angel, whoever he could be ...»

       Birdy Tg


Derek Rose was born, in tragic conditions, during the terrible Cambodian civil war which, under the exactions of the bloodthirsty army and the blind yoke of the Khmer Rouge, decimated the population by making more than two million direct or indirect victims.

His mysterious and unavowable origins, the heavy secret of which must remain hidden forever and at all costs, earned the newborn baby and his mother an immediate death sentence by the guerrilla leaders. However Derek escapes it in extremis thanks to the altruism of a brave family of poor peasants who does not hesitate for a moment to hide and raise him like one of its own children, until the day when the ferocious authorities, discovering this intolerable insubordination, but unable to find the child, coldly execute all the members of Derek’s adoptive family.
Very strangely, the young boy had been evacuated the previous night by a French NGO… nevertheless, severely traumatised by the brutality of this new heartbreaking separation, he becomes amnesic during the transfer back to France where, once again, his origins are embarrassing even the highest levels of the French State. The latter, taking advantage of Derek’s amnesia, abandons, rather than entrusting, the unfortunate child to a cruel orphanage in which he survives as best as he can, subject to the relentless sarcasm of the other orphans and to the physical and psychological abuse of the monstrous director of the establishment, while sinking into a devastating melancholy gradually that gradually leads him to the frontiers of madness.

It is seven years of a nightmare before Derek manages to escape, in the hostile night, leaving his executioner lying in the midst of the flames devastating the orphanage. Then begins for the teenager a wandering life through which he will experience hunger, cold, permanent humiliation, the social annihilation of the homeless and all the omnipotent dangers inherent in extreme loneliness. Despair and artificial paradises in which he once thought he had found refuge are overwhelming his last strength ...

He owes his life only to the providential and unwavering friendship offered by an enigmatic young squatter, Ben, who discovers him dying on the icy pavement of a definitely indifferent Paris. As a miraculous Angel, he takes Derek under his protective wing and, patiently, intensely, gives him a new taste for life and allows him to undertake a long and difficult process of reconstruction, through an astonishing teaching marked by art therapy and hermeticism.

Sadly, once again, Fate is raging against Derek and tragedy snatches this invaluable friend from him. However Ben seems to have organised everything before his disappearance and leaves him, for legacy, the keys and the abstruse codes of his promised socialisation ...

Four years after Ben’s disappearance, Derek has become an internationally renowned photographer and reporter, but he has not yet come to the end of his surprises. While covering, for a major weekly magazine,  the premiere of the "World’s Greatest Show Ever", "The Fabulous Opera"  - which the whole world keeps talking but has no idea about what it could be -, Derek is stunned to discover, live on stage, the prodigious truth about his incredible life and terrible secrets…


The Story of this Visual Series is taken from Birdy Tg's Latest novel :"L'Opéra Fabuleux"

© Birdy Tg - All rights reserved.

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" Fate of Innocence" - Birdy Tg 

The Fabulous Opera Series

© all rights reserved


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"Fate of Innocence" :  The Artwork Explained…

"Should we believe in Fate and if so, is it possible to escape it? Why do some beings seem as if they are inexorably caught up in the infernal spiral of black misfortune while others are bathed in the soft light of a fortunate existence ?    Is there such a thing as prenatal determinism or should we believe Fortune (or Misfortune) only promised at random from the social or geopolitical conditions relating to birth ? Or, do we suffer the only consequences of our “good and bad” actions judged and sanctioned by a supernatural entity ?"
These are some of the issues that Birdy Tg addresses in his new novel «The Fabulous Opera» as well as in his new eponymous visual series, and in particular, in "Fate of Innocence".

"Fate of Innocence" stages Derek, the young orphan, his small suitcase "empty of his past" in his hand, alone in the middle of the night, in a deserted landscape, presenting himself before the ruthless "Bell of Destiny" who judges and decides on the Futures, the “screaming metal” version of the terrible Moirai or Parcae. In the left background, standing behind him, like immaterial zombies out of Chaos, are the innocent ghosts of the "Children of Lidice". These young children to whom the «Bell of Destiny» tragically left no chance.
Among the 105 children of the small Bohemian village of Lidice, the Nazis of the SS Prince Eugène 7th division - after having shot the men who lived there, as well as a part of the women, and deported the other women to Ravensbrück - placed a ten or so of them, whose «type corresponded to Aryan criteria», in German families for "re-education" (as part of the Lebensborn program), and deported the others to Lodz, then to the Chelmo extermination camp where the little martyrs perished in gas trucks. Only 17 children survived…

"What more beautiful symbol of Innocence than a child ?" ...
I was lucky enough to have photographed at that innocent age, Azif Wekare, my wonderful and faithful model with whom I have been regularly working for many years now and who plays the role of Derek Rose as a teenager, then as a young adult, in my entire “The Fabulous Opera” series. His candour and his beauty are such, in this photograph taken some twenty years ago, that no one better than him could be this very young child, this true Angel fallen from the sky, lost in a world of bullies in which he is tossed around without ever having control over his destiny.
A significant gesture if there is one, I abusively decided to “transplant” this old photograph into a dreamlike setting, built from scratch, anhydrous stone after infertile stone, marrying by force - at random from my tyrannical inspiration and the 380 or so photographs that I needed to create this work - a sea from Japan, a cove from Brittany, a moor from Ireland, islands and icebergs from Iceland, angels from Italy, a bell from Chersonesus that I have decked out with those so cold and presumptuous emblems of Justice… all of them having only one thing in common, an immutable celestial light that nimbulates them as if to unite them… willingly or forcibly. This unreal landscape in many respects further amplifies, by its desert and colorimetric coldness, the loneliness of the child who, under the mysterious influence of a world that remains outside him, climbs as if by innate automatism or submission to the dry morgue of an implacable destiny. I am quite sure that some people cannot but feel in here, through this little bit of a man, the telluric replica of a Christ who, in the irreversibility of the call of Tragedy, undertakes his Way of the Cross to Golgotha towards a deliberate crucifixion… Could redemption and the promise of a better life be found at the summit of the ascent?…
We do not know whether the child carries this fragile poppy in his hand out of simple ingenuity, or in an attempt to soften, by the delicacy of this offering, the inhuman sentence that he feels, or whether he already carries within him, by this symbol, all the hope and belief that his destiny will smile, at last, the day when his path will happily cross that of his Saviour, Ben, with whom he will make this flower, however terribly ephemeral, the emblem of their unfailing friendship. Finally, because I don’t accept, and will never, to believe that their terrible sacrifice could remain in vain, I wanted, as a moral, that the ghosts of these poor little tortured victims of Lidice, who courageously accompany Derek with their discreet shadow, be «resurrected» as if by the magic of a child’s hand. So I have given them back their colors, those of a second life, by a simple colouring in pencil, like a happy child, born under better auspices, could have done. What child would not wish to “repair” with all his might, if such was his power, the injustice committed of such a despicable crime that only the very symptomatic and hegemonic human madness can unfortunately engender? And more, would there be a single child on Earth to commit such monstrosity in turn? … It was also my wish to pay tribute to those victims tortured by Fate so that their innocence and courage would not sink into oblivion”.

Excerpt of the Interview given to Roger Leege for the American art magazine "Dek Unu" - November 2019 Issue


Excerpt of the Booklet : "The Story behind… The Fabulous Opera" by Birdy Tg.  ©Birdy Tg - All rights reserved


" Insomnia" - Birdy Tg 

The Fabulous Opera Series

© all rights reserved



"Insomnia" :  The Artwork Explained…

"Where are the boundaries of the dream ? Is the dream only a simple physico-chemical phenomenon of our brain, consequence of our conscious acts or induction of our repressed phantasms, or could it be pure virtuality ? Or, infinitely real, does it constitute the effective gateway to another level of consciousness or new concomitant space-time of which we have no cognition ? Could we, contrary to what we believe, dream only when we think we are awake and live the truth of our life precisely during the dream only ? Would we, beings of dreams, be that carnal virtuality dreaming all the time of the idealisation, the staging and the theatricality of our fictitious body ? Would the ephemeral life to which we seemed to hold on to so much, in order to better retain it, and which we believed to be so real, turn out, from then on, to be nothing but the sublime work of a mad trickery ? And if so, would it be supremely organized and by what, by whom ? Could we then be able to affirm that life is only immateriality, spirituality and perhaps immortality ? Would the dream ultimately constitute our means of spatial locomotion or a simple lifeline which, in our absolute desire to make the dream come true, drifts surely, inexorably, sooner or later, to the edge of madness ?
Is madness mediocrely nothing but irrationality, a disease of the mental or intellectual faculties, or else a reminiscence or a resurgence of conflicts of experiences previously  lived, possibly elsewhere, in another body or in another space-time, or again the devastating confrontation of the plurality of concomitant spirits within a carnal monohull, or a mental mono-essence, and seeking to establish their hegemony in the confusion of their struggle ? Could it, more nobly, be the expression of an interminable waking dream, or the more or less permanent access to another stage of consciousness ?  Or, quite simply, the most successful stage, the total accomplishment, the infinitisation of the dream ? And in the latter case, would it not then constitute the coronation of the artist whose dream takes precedence over any other consideration and whose completed destiny is to remain eternally misunderstood ? Unless it is ultimately only the insanity of the "other", that disinherited being, perhaps even damned, definitively immature and condemned to never be gifted with understanding…
If dream and madness were possibly complicit, and if they were perceived as a danger that one foreshadows but does not feel strong enough to face, like a baleful land to cross, definitely mined and therefore potentially lethal, wouldn’t the solution lie in insomnia ?... "
Within «Insomnia», I don’t pretend to answer all these questions but, here, I place Derek in an allegory that takes them all into account.
Since Ben’s tragic disappearance, Derek Rose has felt that he is inexorably drifting away, that all the foundations of life that he thought he had finally manage to rebuild, thanks to the patience, dedication and selflessness of his friend and saviour are melting under the overwhelming heat of this new emotional hell. Probably one hell too many for his battered and red-hot life ...
«Insomnia» comes at a time when, in this unstable and precarious universe where his psyche tirelessly wavers, Derek meets Arthur Rimbaud and befriends this colourful character, this exceptional man, cheeky, young, handsome and brimming with intelligence, but just as alone and disoriented as he is, in the frantic search for a soul mate capable of understanding and sharing his own existentialist suffering. He, too, has so many times wandered on the dark witchy paths of the mental amphigouri. Only, the poet of the most beautiful pages of French poetry, eternal child with his soles of wind (which leaves him very little feet on the ground) having grown up far too quickly and too often in adversity to build harmoniously, knows no limits and drags Derek, too weak and malleable, ever further, beyond the intelligible boundaries of danger. Derek admires Arthur for his poetic genius but fears his excesses of all kinds. Arthur loves Derek as much for his advantageous physique as for the infinite quality of his Spleen so similar to his own.
Derek knows he has to flee from this new friend, but his hypnotic company is an addictive drug that drives him deeper and deeper into the madness that works towards his ultimate annihilation. In his increasingly limited moments of lucidity, Derek struggles with all his might. If only Ben was there! He wishes he could dream that his disappearance was just a nightmare. But the sacrilegious dream keeps calling out louder and louder to Arthur.
As a last resort, Derek desperately tries to stop himself from sleeping in order to abort the dream by which Arthur, the fire thief, breaks into his life every time. However, insomnia also poses a terrible danger to both mental and physical health.

In addition, "Insomnia" contains a number of keys and codes, including :

- Ice and snow :  symbols of purity, fragility, and precariousness. They have the particularity of being a transformation by crystallisation of water at 0° Celsius, a stable body below this limit but becoming unstable when approaching it (under normal atmospheric pressure). They therefore involve a concept of transformation, but also of possible instability. In this, both concretise an ecological symbol, visual barometer of climatic instabilities and, consequently, of the reasonable concerns and sense of danger and vulnerability that everyone may feel in the face of global warming. Thus Derek, naked, that is to say allegorically in his greatest vulnerability, sitting on his meagre adrift iceberg, like a future that can no longer be controlled, is threatened, like all the ecosystem of our poles, by the heat of the emotional fire (here imaged by a molten lava flow) devastating everything in its path and inevitably melting to reason.

- The chameleon : In many of my visual creations, he is the storyteller and sometimes a messenger. From his mouth come out fragile bubbles, threatening to burst at any time, on the surface of which the images of Arthur Rimbaud and Ben gradually mix until they become confused, thus showing the mental confusion in which Derek vacillates between, on the one hand, the need at his side for a companion of misfortune - a vital presence in order to deceive his loneliness and his depression, as the equivocal Arthur may become - and on the other, the reason and fidelity which always bring him back to his friend, now missing, Ben. It should also be noted the strange resemblance between Arthur - at least for what is known of him through very rare paintings and some non-formally authenticated photographs, adding further to his myth - and my other incredible model Lance G. with whom I have also been working for many years and who interprets the character of Ben throughout "The Fabulous Opera". This disturbing similarity does nothing to help Derek’s precarious lucidity.

- The record player : A raving vision, it symbolises here the memory of the happy times shared with Ben in the squat and spent listening to another fabulous opera, namely "Misplaced Childhood" by the British band Marillion.

- Parnassus : Mountain in central Greece, overlooking Delphi and which is mythologically devoted to Apollo and the 9 Muses presiding over the Arts. It is also the name of the 19th century French poetic movement which succeeded Romanticism.
«Insomnia» is not just about dreams, loneliness and mental illness. He also highlights other perils, such as the issue of global warming. In the same way, another threat, undoubtedly much less dramatic at first glance because hidden at will, is particularly close to my heart to the point of raising the alarm. Our language is tragically impoverished by a superficial, mercantile and driven society without great resistance, most certainly by ease, laziness and cowardice, but also by growing ignorance (which is both the consequence and the cause - terrible hellish spiral !), in a reductive globalisation with little respect for cultures and Culture, a world of pretences, urgency, short circuits of expression and reflection, gradually suffocating its specificities, establishing a levelling down by biting shamelessly, to the fullest, in our vocabulary, our grammar and our syntactic constructions, blissfully digesting the lexical richness of the oral and written productions, distributing a confused intellectual «ready to consume and defecate», an addictive opium for the forgetful masses. A living language must certainly evolve, this is vital to it, but not become so impoverished as to be lost. And yet ... communication seemed never to have been easier, access to information and education, therefore simply universal knowledge, also democratically simplified thanks to the Internet. Sublime technology but terrible disillusionment!
Unfortunately, we cannot enter here into the analysis of the reasons and calculations, but only stay with the confounding denunciation and the undeniable observation… However, since “The Fabulous Opera” highlights Derek Rose’s healing, precisely by the discovery and learning, the practicing and mastering of the Arts - in which literature holds a place of honour - so when melancholy and depression once again place Derek on the brink, it is also all his cultural achievements that are threatened at the same time, justifying in this parable, all my concern to denounce this double perdition.
Parnassus, the emblem of our beloved literature which nourished the world of its beauty, virtuosity and erudition, is in ruins at the top of an iceberg itself doubtless in perdition (we can distinguish it on the right of the summit of the largest iceberg, in the background), a presence that is in no way anachronistic because all symbolic.

- The white feather : It is the very symbol of the writing, and therefore of the message, but it is also the prerogative of the bird (the mediator - between Earth and Heaven) which is present in many of the works from "The Fabulous Opera" series such as "The White Feather» : the dove, "The Fabulous Opera (the artwork)" : the magpie (and also the combe), "Broken" :  the skeletal remains of the magpie, "What happened to the Colors" : a shower of white feathers stained with blood, etc. ... Here, no bird, but a solitary white feather falling from the sky ... is it the last remnant of a bird vanished forever or that of the wings of the Angel who watches over Derek ?
A temporal certainty: Derek, who seemed lost in the limbo of his madness, saw it and observed it fall. One conviction: it is this same white feather that can be found in the young man’s boutonniere during the miracle of "The White Feather", a trophy or relic that he will proudly wear four years later, at the gates of the «World’s Greatest Show Ever» , "The Fabulous Opera", on Broadway…


Excerpt of the Booklet : "The Story behind… The Fabulous Opera" by Birdy Tg.  ©Birdy Tg - All rights reserved

" The Fabulous Opera" (The Artwork)

Birdy Tg - The Fabulous Opera Series

© all rights reserved


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"The New Kings" - Birdy Tg 

The Fabulous Opera Series

© all rights reserved

Detail of "The Fabulous opera" artwork and standalone artwork


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"Tête à Tête - The Last Supper" - Birdy Tg 

The Fabulous Opera Series

© all rights reserved

Detail of "The Fabulous opera" artwork and standalone artwork


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"Adding Bridges in Subtracting Walls" - Birdy Tg 

The Fabulous Opera Series

© all rights reserved

Detail of "The Fabulous opera" artwork and standalone artwork


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"Je Ne Regrette Rien" ("I Have No Regrets")

Birdy Tg - The Fabulous Opera Series

© all rights reserved

Detail of "The Fabulous opera" artwork and standalone artwork


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"La Bohème" - Birdy Tg 

The Fabulous Opera Series

© all rights reserved

Detail of "The Fabulous opera" artwork and standalone artwork


"The Fabulous Opera" :  The Artwork Explained…

I think I can say that "The Fabulous Opera", as a work, is certainly my most ambitious work to date. Previously, in my "In the Garden of God and the Devil" series, "Lux Ex Tenebris" had been quite a challenge with its 1850 individual photographs used to create it. But here, with "The Fabulous Opera", it is not less than 3250 individual photographs and more than 6 constant months of work that I have needed. It is also the largest work that I have ever produced, with its format of 12 meters long by 6 meters high (about 40 ft long by 20 ft high). I very much hope that one day I will have the opportunity to exhibit it in its original dimensions. For the time being, it will only be offered in galleries in 3.6 meters and 2.4 meters in length (about 12ft and 8ft long).

However, the real challenge lay much more in the fact that it is not an easy work to apprehend, but also to appreciate aesthetically, for photography purists, since I had deliberately decided from the start to repress all traditional photographic habits, impulses, landmarks and references, in order to approach the treatment of this work like a painter. Moreover, the chosen narrative theme was in no way intended to facilitate the approach.

At the very beginning, it earned me some very allergic reactions to this particular work, even a pure rejection from some people…
I still smile when I think that "The Fabulous Opera" was even refused access to the "Photography" section of a Parisian contemporary art fair, to select it ipso facto in the "Digital Art" category, when everything in this creation is only Photography.. What nonsense ! Decidedly these old corny Popes of Photography who proclaim themselves the guardians of the flame, these narrow-minded Ayatollahs, defenders of the single thought and the sacrosanct truth, have still not understood that contemporary Photography has evolved without waiting for them and that it is no longer a question of repeating tirelessly, and above all very sterilely, what the great masters of silver Photography did, better than anyone else, a long time ago. Contemporary Photography, thanks to new technologies, must now discover new frontiers, venture into hitherto unknown lands - otherwise what would be its legitimacy? Consequently, I slammed the door and refused to exhibit. In doing so, I wished to publicly protest against this type of primary, backward-looking and conservative attitude, totally out of place in a vibrant modern world, leaping from evolution to evolution, to speak out against a real stagnationism of good tone - that is still all too often rife in “dusty infatuated institutions” in which the «tottering little kings», bulimic to death of an outmoded past, hold more to their golden throne and prerogatives than to the love of Art - and legitimised in fact, even more, the urgent need for a progressive approach, a wind of creative freedom. Of course, I was aware that I was closing doors, but I was taking the gamble of opening many more soon. I knew very well that this kind of reaction could, was obviously going to happen ... but I also bet that in the end the “grieving spirits” would probably come back to more reason if ever some "Photography or Art Awards" came to reward "The Fabulous Opera" … Which was not long in coming. So the tide had once again turned…

The other “handicap” "The Fabulous Opera" could encounter was the bias of the theme and the cause that I had chosen to defend.
I artistically felt the need and the urgency to tell a story that no one would want to hear, the darkest side of life, a destiny that we would not even want to believe in, so rough, bitter, sad, anguishing and depressing it seemed, that one would soon judge too caricatured, too huge to exist. And yet, it was the nakedest truth that we all actually know, deep down in our innermost depths, the truth that we modestly - unless cowardly - refuse to face, the frightening truth of our cruel world. The epic of this “misplaced childhood” (a difficult translation, to say the least : childhood born under bad auspices, childhood scorned, stolen and shattered), of these orphans of heartbreak, of these exiles of sorrow, of these little servants of the most disastrous misfortune, of these homeless and loveless refugees, of these little ones who were born without anything and will die, alone, with even less. How would we expect people to be comfortable with this kind of evocation ?!
But what if I could turn all this misfortune into a fantastic tale, if I could find even one exception to this whole slump that would make putrid mud, perhaps not a Golem, but an ode to Hope and Love capable of awakening both our personal and collective consciousness and generating potent actions ?

Thus was born Derek Rose, the hero of my visual and romantic tale, this paladin of modern times.
To this end, I visually opted for a very dreamlike and allegorical vision of the subject and, in the particular case of "The Fabulous Opera", for a terribly artificial setting. Under these conditions, what better staging could there be than a theatre stage with its virtual sets, its cardboard walls, its special and specious effects, its sagging lights, in a word, its "false everything"? It was certainly a very disturbing, even antinomic strategy, especially since it was in this very fake environment that all the Truth, about the terrible secrets that have been applied to destroy not only his childhood, his adolescence but also a large part of Derek’s adult life, had to come out into the open.

On stage :

Here is the Parisian squat in which Ben took Derek in and transmuted the leprosy of misery and sadness into the gold of Life. But at this very moment, Ben tragically disappeared. Derek finds himself alone and, when his life had finally recovered a certain balance thanks to the teachings and the friendship of his guardian angel, it once again shatters in a thousand pieces.
Allegorically the building explodes in the air, the scene splits and flies above a ruined Paris (allegory of precariousness, instability and temporality of all things in the universe). Like a dying man seeing the whole film of his life in his head, Derek relives the moments shared with Ben in the squat and, at the same time, helplessly contemplates his sad present loneliness, but also already projects himself into the future thus seeming to augur well for his possible recovery...
The representation of concomitant past, present and future scenes in the same place and at the same time, in accordance with the theory of simultaneity of all times, is particularly dear to me and I regularly use it in my visual work . Recently, American researchers and astrophysicists have moreover established its probability thanks to the wormholes present in the outer space which would allow the instantaneous jumping from one time to another.

In "The Fabulous Opera", we can observe:
On the far right, on the return wall, a painting showing Ben and Derek together, called "ONE" (United) - also available as a standalone work - see Page 4 of this booklet - symbolising Fraternity as the first sacred value of Life, which Ben realised entirely using a binary numeric code (formed of digits 0 and 1) revealing the “Formula of God” directly resulting from Albert Einstein’s theory of relativity. See on Page 4 of the F.O. Booklet or on the left side of the "Genesis of the F.O." section of this Page
On the right, in the foreground, a scene expressing the moments of happiness shared by Ben and Derek at the squat. It was this wonderful time when the two friends exchanged and reconstructed the World in their own way, an idealistic world, fairer and more respectful, while listening to the album symbol of their story, "Misplaced Childhood" by Marillion, in which each found with imagination, candour and emotion, scraps of their own experience.
We can note on the electrophone the presence of the chameleon, a recurring «character» of all my visual narrations, who is the storyteller.
This part is also available as a standalone work "The New Kings" - See Page 23 of the F.O. booklet or left side of this Page.

In the right background, Ben’s tragic disappearance leaves Derek in inconsolable suffering. He is seen here alone at the table, in "Tête à Tête" with himself, in a solitary analogy of the Christian Last Supper - hence the very biblical English title of this part of "The Fabulous Opera": "The Last Supper" - also available as a standalone work - See page 17 of the F.O. booklet or on the left side of this Page.
On the table, the symbol of the "Body of Christ" is nothing more than «bread dust» (flour) while the "Blood of Christ" is irreparably poured over it. Derek can no longer feed himself, the food remains rotting on the plates while a remote control is broken into pieces, evoking the end of "playtime" (the happy and carefree days).
Derek wears a militant T-shirt that reads "For all the fucked up children of this world". Behind Derek, on the edge of a partially destroyed wall - on which is painted a representation of the "Father and Son" (ignorance of his origins and in particular of his father will long remain a cruel lack for Derek - at least until his incredible revelation…) - a magpie, a figure of ambiguity par excellence (ingenuity, lying, kleptomania, etc.) is perched, holding in its beak an equally ambiguous bunch of keys, symbolising at the same time the solution, initiation, understanding, knowledge, openness, freedom, right or, on the contrary, the physical or mental imprisonment, alienation, dependence, duty…
In the left background, Derek and Ben’s dog are still hoping for the increasingly hypothetical return of Ben ... but time goes by, interminable... melancholy sets in, insatiable.
Eager to show his friend and mentor all his respect, recognition, loyalty and confidence, certain that Ben would have liked him to react rather than let himself down, Derek decides to put into practice the second saving step of Ben’s teachings, namely art through painting, as therapy, finding in it an outlet for the suffering and discomfort of his loneliness, but also the expression, through creation, of the artist’s deep soul and his communication with the outside world - this part is also available as a standalone work: "La Bohème" - See Page 18 of the F.O. booklet or on the left side of this Page.

- On the left, the drama of Ben’s disappearance is depicted, as he walks away alone, allegorically on an uncertain footbridge, stopping abruptly in the void, from which he symbolically draws aside the back curtain of the theatre, impertinently imitating the azure of an immaculate sky (happiness), to discover below the unfathomable darkness of a burning hell that seems to call him inexorably.
On the curtain there is an emblematic phrase that perfectly sums up what Ben’s life and his high mission on Earth could have been, which is summed up in the title of the stand-alone work "Adding Bridges in Subtracting Walls..." - See Page 21 of this booklet or the left side of this Page.
In the foreground, of this detail, is an almost naked space, contrasting sharply with the opulence of all the teeming decor of "The Fabulous Opera", it perpetuates the immense emptiness left by Ben’s mourn absence. Only two exceptions come, in a way, to contradict this chasm:
      - First of all, a white rose with fine gold foliage, a reference to the Absolute Feeling of Eternal Love and Enlightenment. This is also an echo of the third degree of teaching provided by Ben, that is to say hermeticism and esotericism, and in particular to the "Rose Cross", not as a mystical order (Rosicrucian), but more broadly in Paradise and its most sacred place traditionally said to be occupied by God in the highest heavens, surrounded by his most holly servants, those who did not betray him (according to Christian tradition).
       - The second exception resides in six separate objects that form a visible part of Ben’s mysterious and highly symbolic legacy to Derek:
                       . First of all, 3 fundamental stones. The first two are engraved with the Hebrew letters Beith and Vav in direct relation to the Kabbalah, while the third reveals on its side an excerptum from the Emerald Table of Hermes Trismegistus which will find all its meaning in «The White Feather» that we will describe  further on.
                   . Then a German tarot card “Das Rad des Schicksals” (The Wheel of Fortune) accompanied by an English 1 penny coin (probably to be related to Sir Thomas Moore’s original sentence from 1522 which meant  “I’ll give you a penny for you to tell me what you’re thinking about" but also to the song "Keighley" from Marillion’s "Misplaced Childhood" album in which the two friends recognised each other).
                   . Finally, a closed sibylline Indian cassette which will reveal, we can bet, many other puzzles that Derek will have to decipher.
Of course, there are much more complex explanations that I will bring to the details given on the sister work of "Building Bridges in Subtracting Walls ...", i.e. "The White Feather" which is none other than its parabolic evolution.

In the center, in the background, is an allegorical scene evoking Ben’s bet on Derek’s final healing.
From a precarious piece of the floor on which appears painted a sentence full of meaning: "I have no regrets" (which by the way gives the title to the independent work resulting from this detail - See Page 22 of the F.O. Booklet or on the left side of this Page) - the young man launches himself with resolution and confidence into the void, as if the promise of a certain future had been taken for granted.
As for Ben, he seems to be heading for new horizons, on another piece of debris left over from the exploded building, but Derek’s fate is no less important. Far from turning away, he stands on the edge of the fragmented floor, reaching out a hand to Derek as if to assure him that whatever happens from now on, he can always count on him. A paradoxical concept if ever there was one, for Ben seemed to have disappeared forever... but the young man always proved to be full of surprises and wisdom.
Would he have staged his eclipse wisely? Did he think that without this heartbreak Derek would never have ventured to break the chains of his dependency?
Did he feel that Derek was now ready to stand on his own two feet and chart his destiny on his own? Was this, then, his final teaching ?

Throughout the entire squat, many murals surround the scene, portraits of characters like so many witnesses, or non-anecdotal advisers ... 7 are standing on the left, 3 on the right ...
Everywhere Ben left many encrypted messages. (On this subject, moreover, it is important to specify at this point that the first person who will be able to bring me the right decryption will be worthily rewarded! Good luck!)
A white dove, emblem of Peace and the Holy Spirit, rises from a ravaged Paris, venally exsanguinated of any fundamental Humanism, bringing in its beak a poppy, apologue of fidelity in the memory, this same symbolic glyph as Ben and Derek had tattooed on their body as reciprocal testimony of their commitment to eternal friendship : "To be present forever for the Other".
A rainbow (which colours - we can certainly rule out all chance here - are echoed in the armchair that Ben occupies in "The New Kings") crowns all the different time scenes as if to prevent them from definitively falling apart, and beyond assembling them. It is the symbol of the Mystical Alliance that constitutes the universal act of Unification and Love: "ALL is ONE and ONE is ALL", such as Ben liked to remind it.

Finally, to be complete, I must add that the vast majority of objects and decorations, in the form offered here, are purely virtual. However, each of these are indeed made up of many small photographic realities, patiently thought out, prepared and collected, then finally linked so intimately with each other that they end up having to create, from scratch, a necessary reality that seems to have always existed.

In 2013, I was deeply moved by my visit to Tower 13 in Paris and captivated by the forty or so formidable international artists who were invited to take possession of the premises in order to express themselves plastically before the scheduled destruction of the site. What they managed to create together was probably the most beautiful Street Art museum in the world. Tens of thousands of art lovers flocked continuously throughout the month the place was open to the public. I was one of them, certainly a little privileged, which allowed me to take hundreds of photos of the works and installations. I would like to pay tribute here to each of these magnificent creators without whom «The Fabulous Opera» would probably never have seen the daylight because that is how the emotion and the idea of bringing Ben and Derek, these two sublime beings of light, to life in this place was born.

More than creating with "The Fabulous Opera" a simple succession of events, I wanted here to get as close as possible to the Sacred, the Universal Sentiment, that of Sharing, Solidarity, Devotion, Abnegation, Fraternity, Love of one’s neighbour, to rediscover the only values that are worthwhile and that make humanity in the noble sense of the term.

As we learn from quantum physics, everything is there, at the same time, everything is linked, in each of its aspects.
This is what I tried to share with the “spectator”, by scattering to the four winds of creation and discovery, hundreds, even thousands of clues, so that this one can, if he wishes, become in turn an actor of its own truth by collecting what he wants to find there, yesterday, today and tomorrow. It is a question of spiritual quest, that of the Absolute.

I have probably invented nothing, the Great Historical Masters of Philosophy are certainly very present, but here, there can be no futile predominance, there is only a necessary universal complementarity, and much more , there is the fundamental world of the Little ones, those who make the world, and not those who defeat it, that is to say each of us, humbly, even the most destitute, even the most fragile, All of Us, without exception, finally united, beyond the ugly trivialities and vain appearances, within Universality and before Eternity, subtle timeless mixture of immanence and transcendence.

Utopia, you say ? Maybe... but precisely THE ONE, terribly current, that I felt crucial to defend proudly.

Excerpt of the Booklet : "The Story behind… The Fabulous Opera" by Birdy Tg.  ©Birdy Tg - All rights reserved


" The White Feather" - Birdy Tg

The Fabulous Opera Series

© all rights reserved


The White Feather.jpg

"The White Feather" :  The Artwork Explained…

This typical work of Birdy Tg’s art is directly derived from «The Fabulous Opera» (the artwork) of which it is, in a way, a temporal extension. It is a favorite exercise for this artist to completely rework parts of his most imposing works by making them evolve. Indeed, if we compare it to "Adding Bridges in Subtracting Walls" (See Page 21), it clearly appears as a decisive evolution of the latter.
"The White Feather" is a hermetic and coded, allegorical and dreamlike, work in which Alchemy holds a very preponderant place but, at the same time, it is above all a philosophical work on Fate, Fidelity and the Meaning of Life. It’s a work where the miracle operates. It is a magnum opus.

Derek effectively fought his period of deep depression having led him to the brink of insanity, following Ben’s  tragic disappearance, by tackling the application of the so unique teachings that Ben had lavished on him in order to help regain a taste for life. But Ben has always been very mysterious and stingy about his own origins and those of his extraordinary knowledge. Equally surprising is the unprecedented legacy he left to Derek: a series of seemingly indecipherable coded messages, hermetically sealed paintings and phrases scattered throughout the squat, as well as a few obscure objects to say the least. Among the most singular, three stones and an antique Indian cassette. What could Derek do with all of this, since he doesn’t understand anything about this real abstruse puzzle ?
As long as Ben was by his side, he didn’t wonder. Confident in his friend, Derek let himself be carried away by shared friendship, but today Ben is no longer there. The latter knew that the healing process was well under way and that he would have to take the decisive step of empowering his friend to take control of his own future. The time had come, Ben had left just as mysteriously as his existence had been, and Derek is now alone.
If he wants to get out of it, he knows that he must end up accepting this new solitude ordeal which is irrevocably imposed on him but, however, he has to understand the reasons for it and, for that purpose, Derek feels that he will have to uncover the many enigmas left to his insight. He decides to seize the 3 stones.
Two of them have engraved signs, the third one seems to be nothing more than a common pebble...
As he turns and flips the first two, although he is not a specialist, he thinks he may recognise Hebrew signs and suddenly remembers Ben once talking to him at length about Kabbalah. Knowing Ben, it would not be surprising at all if these signs could go far beyond mere decoration and carry a special message for him.. He delves into Ben’s belongings, all of which have remained untouched in the squat, and finds an antiquated and worn-out book on the subject. He soon identifies the letters Vav and Beith… what do they have to reveal ?

Vav : The human being can realise and radiate his Splendour of light only in the unity and the balance of the different levels of consciousness within him. He then symbolically manifests an immense Tree. Life flows freely from the subtle foliage filled with the sun to the deepest roots closely intertwined with the Earth. But in this humanity in transition, at the level of the "trunk", the accumulation of psychic shocks, in the oblivion of the Divine Source, disrupts this circulation and divides our being. This psyche represents everything that exists only in this consciousness of separation : pride and its procession of suffering, frustrations, inferiority or superiority complexes, power relationships ... The energy of Vav helps us to find our vertical axis, to stand "upright", with our feet on the Earth, the Sun in our heart and our head in the sky of the universal consciousness. It is the link that connects all that is separated... We have all donned psychic cloaks that veil the splendour of our soul. We must not reject them but understand them with love, and they will be transmuted by the Light…

Then it’s time for the Vav stone to choose to talk to Derek:
          «Man of the Earth, you’ve been walking for a long time. But in this moment you meet me, and this instant is blessed. United to Me, you can better realise the greatness of your being in all its vastness. Do you accept to contemplate yourself entirely? Words cannot evoke the dimensions of your being which is out of time, but you can sense its beauty ... You carry within you all the richness of your experiences which go far beyond your current life. Nothing happens to you that you have not chosen, whatever the level of your being that has made this choice. You also carry in you the memories of a human inheritance, and of various shocks received which can influence you. This part is like a child who thinks he is an orphan and the world is terrifying, whether he admits it or not. He builds a shell to protect himself. I will help you to make him understand that the Father-Mother opens his arms to him. Finally, if you want to be whole, you must fully integrate your physical body. He is intelligent, sensitive, and has suffered for millennia from being lived as a prison, an intolerable limit for the soul eager for freedom… I am Vav, beloved, and I am all that, because I am your Reunited Being .»

Beith : Object of all quests, splendour of all splendours, whatever we name it, Beith is the Original House, the cradle of our soul. It is the very substance of the Divine Mother, the web that supports the universes and the worlds. Today it is the New Earth, the Abode of the New Man. Inside its Presence, we are at home on this planet, in a physical body in perfect harmony with our body of Light… The culmination of our quest is near. Beith invites us to look at a situation with the Eye of Intelligence, Binah, which cannot be fooled by appearances. It raises us into the sovereign consciousness of the Oneness. (Remember here the “ONE” artwork – Page 4 of the booklet)
Also, on a more "material" level, Beith can draw our attention to the place where we live, or where we plan to live. We have to love it, respect it, maybe to change the way we live there, and even identify it with the beauty of Beith...
Beith is the initial of the word "Baroukh", used to bless (Baraka: blessing). It is the Letter chosen by the Eternal One to preside over the creation of the world. This means that we are all blessed, whatever our choices or mistakes, because we are the children of Aleph-Beith, the Father-Mother. We all carry on our forehead the invisible mark of this sacred blessing…

He has no time to finish reading as the Beith stone has already spoken:
          "Soul of Light, do you remember that you are my Son? Do you remember the Abode of the Sun which is the very substance of your Reality? Do you feel nostalgia for it ? Rejoice, beloved, for today I come to you. In fact, I have always been here and you have always been in Me, but a part of you had forgotten me and is cruelly suffering from exile… I am here. Hear my voice speaking to you in the hollow of the Living Earth. I am in the generous nature, but also in the concrete of cities. I am the place where you live. Love it, whether it is a palace or a humble transitory room. Call my Light into it, that I may fill it. Respect it, and remember that you are in Me. Everywhere you are at home ... The Earth, the entire Universe is your Abode. O my Son, united to Me, you are free. In the love dance of Time and Space, the limits are erased and reveal the eternity of your blessed Being."

Derek doesn’t dare to move. He trembles of his whole body. He is probably dreaming... or worse… hallucinating ! His mental disease earns him back again. Wanting to reassure himself, he grabs the third pebble, such a vulgar stone could only be silent. Indeed, it remains so. But while he is rubbing it without attention, visibly reassured and satisfied with its pragmatic silence, he feels a wing brush against him and sees a white dove landing next to him. He hears celestial songs rising as the stone begins to emit an unspeakable light and as it mutates into gold, an inscription becomes visible on its side :
          “It is true, without lie, certain, and very true: what is below is like what is above, and what is above is like what is below; to work miracles of one only thing. And as all things have been and arose from one, by the mediation of one, so all things were born of this only one, by adaptation. The sun is its father, the moon is its mother, the wind has carried it in its womb; Earth is its nurse. The father of all the telesme (perfection) in the all world is here. Its force or power is entire, if converted to earth. Thou shalt separate the earth from the fire, the subtle from the gross gently, with great industry. It ascends from the earth to the heaven, and again it descends to the earth and  receives the strength of superior and inferior things. By this means you shall have the glory of the whole world; and thereby all obscurity shall flee from you. It is the force, strong of all forces : for it shall vanquish every subtle things and shall penetrate every solid thing. So was the world created. From this shall be and come forth admirable adaptations, of which the means is given here. Hence I have been called Hermes Trismegistus, having the three parts of the philosophy of the whole world. What I said about the Sun operation is accomplished, and completed."

No sooner does Derek finishes reading than another miracle happens. From the barren surface of the stone, a poppy sprouts and grows up at full speed to offer its delicate flowering like a signature that Derek could not ignore : Ben !
The dove suddenly flies away to make way for a new appearance : a Sacred Deer, its forehead covered with gold and revealing the Third Eye, brings him a white rose with golden foliage. It is then that the murals that Ben had painted come to life. The first closes his eyes and smiles in bliss, while the eyes of the second roll back and the mouth opens wide offering a Golden Key on the tongue.

Much more than a whimsical tale, "The White Feather" turns out to be a real teaching on immanence and transcendence, a lesson in life and in “good living” together, starting with finding one’s place and meaning in the universe. A respectful philosophy that everyone can choose to apply in their own way in everyday life, whatever their beliefs may be.

Excerpt of the Booklet : "The Story behind… The Fabulous Opera" by Birdy Tg.  ©Birdy Tg - All rights reserved


The Story behind…

In the Garden of God and the Devil

The Story

If only I Could Touch the Light.jpg

"If only I could Touch the Light" - Birdy Tg

"In the Garden of God and the Devil" Series

© all rights reserved


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"Lux Ex Tenebris" - Birdy Tg

"In the Garden of God and the Devil" Series

© all rights reserved


Lord of Butterflies.jpg

« What if life was just a Divine Comedy? ...
This is the story of Azif Wekare ... »

Years 2011/2012... Paris, the city of light, is on fire and blood... The whole coruscating and self-satisfied fashion microcosm is in turmoil... A worrying series of disappearances, kidnappings, murders rages within it and creates panic… Strange paranormal phenomena are operating in the capital ... and it is up to the highest level of the French State that the viral anxiety is spreading, causing the whole economic and political activity of the country to falter ...


The police and the intelligence services are given full powers to find the culprit or culprits, even if this must be in violation of the human rights so dear to France. The Fashion Week must be held, whatever the cost ... everything must be straightened out as soon as possible ... and so much the worse if that means sowing coarse decoys, erecting the worst balderdashes as unshakeable truths and even, do not hesitate to appoint harmless scapegoats for popular vindictiveness; after all, convenient official apologies, a posteriori, are also well made for regrettable mistakes ...


Therefore, the ignominious Police Chief Foucre, whose only equal is his inexhaustible thirst for advancement, his uncontrollable lack of scruples and, unfortunately, his incommensurable egotistical stupidity, does not hesitate for a moment to incriminate a young and fiery model with the face of an angel, Azif Wekare, who is the promised darling of the catwalks, set to make his debut in the limelight in a few coming days with its first fashion show for the famous Maison de Couture Saint-Laurent — regenerated by the arrival, at the head of the artistic direction, of the prodigious and much-admired creator, Hedi Slimane — but, for the time being, still far too innocent.


Indeed, it is precisely in front of the 53 Avenue Montaigne, the address at which the new flagship of the prestigious brand is due to open in a few days, that passers-by discover the haggard and blood-soaked young man next to a man lying on the pavement. This should make him a perfect suspect for the present, occupy the media circus, at least temporarily, and reassure the good gullible people for a good while.


This terrible news item falls miraculously for Foucre, bogged down in the full climax of the crisis and cornered by the imperative need for quick results, especially since he soon discovers that the young and handsome ephebe, Azif Wekare, is none other than the victim's son, the famous fashion photographer, Derek Rose (see Birdy Tg's "L'Opéra Fabuleux") who, ten years earlier, had publicly ridiculed the Police Chief in front of the whole crowd of prestigious guests attending the Yves Saint Laurent's Farewell Show at the Centre Georges Pompidou.


What can only be an odious parricide is the unhoped-for and unstoppable opportunity for Foucre to hold his definitive revenge: the father, annihilated, relegated to the greedy gates of a peremptory death, and the son, soon to be forgotten, quickly charged and thrown behind revocatory bars, all the more easily since at the same time Eva, Azif's girlfriend and new muse of Saint Laurent, has probably been kidnapped and her father, Jacques, found dead, strangely defenestrated.


But Azif manages to escape, from the law enforcement agencies chasing him, he is determined to do everything possible to uncover the truth and deliver his father's real attacker to the police. However, hunted down on all sides, his strength diminishes dangerously and the news of his father's death finally finishes him off. Resolved to put an end to his life, by throwing himself into the Seine, frozen by winter, he is saved in extremis by a mysterious monk, whose cowl of his homespun robe devours his face. A vision that is bewildering, to say the least, for the young man, who can however recognize him immediately... How could it be otherwise? This old man is none other than one of the most powerful figures in Fashion, but also in the country ! What is he doing here, at this time of the night, saving him, a poor anonymous kid with broken dreams?


The mysterious character then offers him a very enigmatic pact: a few days shared with him, for a long and difficult journey, in exchange for the physical, intellectual and moral rescue of the young model... The man seems sure of himself and convincing, Azif doesn't hesitate for long, he has nothing more to lose and leaves with him in the “Doréan” night...


In his visual series "In the Garden of God and the Devil" as well as in his eponymous novel, Birdy Tg frantically and mercilessly takes us on an initiatory journey where questions, confusions, deceptions, dramatic turns of events and revelations follow one another at a furious pace until we reach the fullness of Empyrean certainties.


Both the Artist and the Writer play maliciously with our nerves and our senses, transposing Dante Alighieri's "La Divina Commedia" into a "Commedia Divina" that oscillates imperturbably between doubt and certainty. Nervous thriller or socio-philosophical critical essay, Homeric epic or contemplative poetry, it doesn't matter, because in the end whether the dream lies (le songe ment / mensonge) or the relationship dreams (rêve la relation / révélation), here, in Hell, Purgatory or Paradise, everything reaches the Human, his deepest nature, his lowest instincts and his wildest beliefs, his strengths as much as his fractures, his most secret intimacy. Each event tells us (nous dit), manages (nous gère) and digests (nous digère) us, molests us under the weight of the evils and the shock of the Magi, gives us the mephitic intoxication of the Faustian vertigo, to drown us without regard in the "gold-plated" mire of the Fashion backwaters and, perhaps, to finally find our salvation in the ether of the Angels’ breath.


"Let the Party go on and the Flood come!

Here are thus, the impertinent penitents, torn and tossed about, by force or pernicious will, carried away in the darkness of the magic Number, scalded by the coldness of the evil shadows, dazed by the intoxication of the grayness, lost into the chiaroscuros and blinded by their obtuse lightnings, swallowed by the garter snakes of the creeping colors, devoured by the pain of the fire of their intestinal heats, mortified by the pallor of their deceased sweet celestial hours, cheated by the full and their allied fools, tied up by the empty and its crazy close links, evanescent doings, enslaved to the omnipotent Nothing, dead goings, asserted rascals promised to the Great Void...

Let the Beast beat his flank, but let the Demiurge hold!

Then, perhaps... Perhaps!... "




NB: A great part of the many puns, poetic accents and images, so peculiar to Birdy Tg's complex writing style and to the French language, is unfortunately untranslatable in English, depriving the English-speaking reader of all the richness of the extremely elaborate original text. Nevertheless, we have tried to preserve the essential meaning with maximum rigor.


The French text remains available on Birdy Tg's websites: and


The Story of this Visual Series is taken from Birdy Tg's Latest novel :"Dans le Jardin de Dieu et du Diable"

© Birdy Tg - All rights reserved.

"Lord of Butterfliies" - Birdy Tg

"In the Garden of God and the Devil" Series

© all rights reserved



Birdy Tg in Exhibition:

The Museum of Contemporary Art (MoCA) - Beijing CHINA

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Birdy Tg in Exhibition:

The Mark Rothko Museum - Daugavpils


© all rights reserved


After installation (20).jpg

Birdy Tg in Exhibition:

The Hong Art Museum  (Chongquing Museum of Art)

Chongquing - CHINA

© all rights reserved

Birdy Tg Exhibition on Chinese TV



Selected Exhibitions




  • « 1st International Paris Photography Art Fair » – La 4ème Image – Solo Exhibition : « Drawing my Line » - Paris - FRANCE 2013

  • « 2nd International Paris Photography Art Fair » - La 4ème Image – Solo Exhibition : "In the Garden of God and the Devil" - Paris - FRANCE 2014

  • « Celina Art Gallery » - "I Hold My Line" Solo Exhibition - LUXEMBOURG 2014

  • « Galerie 44 Kléber » - Solo Exhibition - Paris - FRANCE 2015

  • « Corridor Elephant Exhibition » - Paris - Birdy Tg exhibition (August 16 – Sept 14, 2016)


In 2015, Birdy Tg decided to stop all kind of Exhibitions for the coming 3 years to exclusively concentrate on his new books and new visual series (he just kept his main retrospective show that were scheduled for a long time). He exhibits again from the second part of 2018.


  • Cinearchitecture – “In the Praise of Light & Shadow” Architectures by Birdy Tg – Stockholm - Sweden





  • « Birdy Tg Restrospective » - Croissy-Sur-Seine Castle and Museum - Paris – FRANCE - Juin 2017

  • Museum Of Contemporary Arts (MoCA) Beijing – Beijing – CHINA – September 15 / November 1, 2018

  • Mark Rothko National Museum – Daugavpils - LETTONIA – February/April 2019

  • Chongquing Museum of Arts – Chongquing - CHINA – January 10 to May 31, 2020

  • National Museum of Fine Arts – Minsk – BELARUS – Nov 2020 to January 2021

  • Songzhuang Contemporary Art Archive Museum – Beijing – CHINA – May 15 to June 14, 2021





  • The ONE Museum – Permanent Solo Exhibition Rooms 1 & 2 (From June 13, 2020) + Permanent Museum Collection Exhibition Rooms (From January 31, 2021).





  • « The Story of the Creative. » International Fine Art Exhibition - New York City Gallery and Long Island City Gallery - NYC - USA 2013

  • « Herrmann Gallery » - Drachselsried - GERMANY 2013

  • « Arte Fotografica » - Lisboa - PORTUGAL 2013

  • « Angel Orensanz Foundation for Contemporary Art » - Group Exhibition - NYC - USA 2013

  • « 1st International Paris Photography Art Fair » – La 4ème Image Galerie Arts Factory - Paris - FRANCE 2013

  • Celina Art Gallery - « Art Chi Textures » - Group exhibition - LUXEMBOURG 2014

  • « 2nd International Paris Photography Art Fair » - La 4ème Image – Galerie Arts Factory - Paris - FRANCE 2014

  • Galerie Arts Factory – « Les artistes de la Galerie » - Paris - FRANCE 2014

  • « Soirée des Ambassadeurs » Exposition - Rueil Malmaison - FRANCE 2015

  • « Exposure » by - Le Louvre Museum - Paris - FRANCE 2015

  • Arts Factory Gallery - "Les Artistes de la Galerie" - Paris - FRANCE 2015

  • « 3rd International Paris Photography Art Fair – La 4ème Image – Arts Factory Gallery - Paris - FRANCE 2015

  • « Domus » Exhibition by Arts Factory – Paris - FRANCE December 2015

  • « Domus II » Exhibition by Arts Factory – Paris - FRANCE March/June 2016


In 2015, Birdy Tg decided to stop all kind of Exhibitions for the 3 comingyears to exclusively concentrate on his new books and new visual series (he just kept his main retrospective show that were scheduled for a long time). He exhibits again from 2018.


  • « Mega Art Gallery Artists » – Mega Art Gallery - Roma – ITALY October/November 2017

  • « TIFA Winners – Best of Show » -  ICA Gallery, Tokyo – JAPAN – May 2018

  • International Eyewin Awards 2018 – Winners exhibition -Invited as “Best Digital Artist of the Year 2018” and winner of best creative photograph (Gold medal) for “Insomnia” by Birdy Tg -Alliance Française – New Dehli – INDIA – From July 7, 2018.

  • Invited Guest to the 5th Biennial of Fine Art & Documentary Photography – Barcelona – SPAIN October 4 / October 21, 2018.

  • « Salon d’Automne » – Official Selection – Le Grand Palais- Champs- Elysées – Paris – FRANCE – October 24 / October 28, 2018.

  • « Conceptual » Show – Winners exhibition – Blank Wall Gallery – Athens – GREECE – November 1 / November 24, 2018.

  • Pashmin Art Gallery Show – Hamburg – GERMANY – January/February 2019

  • I Suoi Colori e le Sue Forme » - Mega Art Gallery - Roma – ITALY – February 23 / March 17, 2019.

  • Pashmin Art Gallery – 4 persons exhibition: Man and His Symbols - Nille Bech (Denmark), Birdy Tg (France), Nick Coley (England), and Eva-Lena Martinson (Sweden) – June 2 / July 31, 2019.

  • Swiss Art Expo – Zurich – August 2019.

  • « Aaj our Kal » Exhibition – New Delhi – India (Arsh Art Group Galleries) – September 2019.

  • Vatican Chancellery Palace – Roma – Italia – October 17 to 23, 2019.

  • Forli International Art Fair – (Mega Art Gallery) – Forli / Venice - Italy – November 1 to 3,  2019.

  • Paris Contemporary Art Show (Galerie Percept Même) – Paris – France – November 7 to 11, 2019.

  • Mega Art Gallery – “Artists of the Gallery” – Roma – ITALY – December 14, 2019 to January 31,2020

  • Art Beijing 2020 – Beijing – CHINA -April 30 to May 3, 2020 (cancelled – Covid 19)

  • Pashmin Art Gallery / Beijing – Beijing – CHINA – July/ August 2020

  • Pashmin Art Gallery / Chongqing – Chongqing – CHINA - March/ April 2021

  • Art Beijing 2021 – Beijing – CHINA -April 30 to May 3, 2021

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Birdy Tg in the Press:

Luxembourg Wort - by Nathalie Becker


© all rights reserved


Dek Unu Magazine - November Issue dedica

Birdy Tg in the Press:

DEK UNU Magazine by Roger Leedge


© all rights reserved

  • Arte Fotografica Magazine N°58 – Front Cover and special personal 12 Pages Portfolio Lisboa – Portugal 2013

  • « Fragantica » - Exhibition in a showcase – Sergey Borisov –« Violette Fumée »Serie- 2013

  • « La 4ème Image » Catalog – October 2013

  • Platform 58 Art Magazine N°73 – England 2014

  • Platform 58 Art Magazine N°75 – England 2014

  • Platform 58 Art Magazine N°77 – England 2014

  • Platform 58 Art Magazine N°81 – England 2014

  • Bayerische Welt : « Birdy Tg breaks all the Photography limits we used to know before… » - by Art Critic Hans Herrmann - July 13, 2014

  • « La 4ème Image » exhibition catalog – October 2014

  • Luxemburger Wort: Birdy Tg Solo Exhibition « I Hold My Line » by Art Critic Nathalie Becker ( « Birdy Tg : Real visual Poems » ) – November 26, 2014.

  • « Art Photography Collection » - Artists Book – 2015

  • « La 4ème Image » Catalog – October 2015

  • Corridor Elephant magazine (France/International web mag) : Birdy Tg (August 16, 2016).

  • IAM : Italian ART MAGAZINE : Birdy Tg Photography – Visual Art – “Visual Poems, Tales and Dramas” - October 2017

  • November 23, 2017: Web article about Birdy Tg on IDEAS DE RUA - BRAZIL (contains many pics including my latest artworks)

  • «EYEWIN AWARDS Winners » Book – India - July 2018

  • « Echoes of Outer Voices and Subtle Clues » – first of a 5 volumes Monograph on Birdy Tg by Corridor Elephant Editions. Volume 1: 250 pages book including Birdy Tg’s Literature and Visual Art (Photography, mixed media, Painting). January 2019.

  • L’OEIL DE LA PHOTOGRAPHIE - October 4, 2018 : « Birdy Tg – L’Opéra Fabuleux, Dans le Jardin de Dieu et du Diable, Architectures – Exposition au MoCA Beijing - Chine  » par Jean-Jacques Naudet & Sandrine Gulian.

  • THE EYE OF PHOTOGRAPHY - October 4, 2018 : « Birdy Tg – The Fabulous Opera, In the Garden of God and the Devil, Architectures – MoCA Beijing Exhibition - China » by Jean-Jacques Naudet & Sandrine Gulian..

  • SALON D’AUTOMNE Exhibition Catalog – October 2018.

  • DOHDO Magazine – November 3, 2018, « L’Opéra Fabuleux by Birdy Tg » by Maxim Panès & Birdy Tg.

  • DOHDO MAGAZINE – February 4, 2019 – Birdy Tg Exhibition at the Mark Rothko Museum

  • L’OEIL DE LA PHOTOGRAPHIE – Birdy Tg – L’Opéra Fabuleux – February 8, 2019.

  • THE EYE OF PHOTOGRAPHY- Birdy Tg – The Fabulous Opera – February 8, 2019.

  • GLOBAL ART MAGAZINE – Man and his Symbols - Germany – July 2019

  • “TUSIS – Manipulated Photography” A Statement on Best international Digital Artists in Contemporary Digital Manipulation Photography – USA – Editor: Dek Unu Arts – October 2019.

  • DEK UNU Art Magazine - Fully dedicated to Birdy Tg – November issue – 2019.

  • Cinearchitecture – “In the Praise of Light & Shadow” Architectures by Birdy Tg – Stockholm - Sweden

  • VOYZX Art Magazine – Canada – Fully dedicated to Birdy Tg – September 2020


Selected Press Articles, Magazines & Books


"Echoes of Outer Voices and Subtle Clues"

Artbook by Birdy Tg - Issue december 2020

© all rights reserved

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"Drawing My Line" - 212 Pages

Artbook by Birdy Tg - 2013

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"I Hold My Line" - Volume 1 - 250 Pages

Artbook by Birdy Tg - 2015

© all rights reserved

cover_2_jpeg__Image_JPEG__949 × 802_pixe

"I Hold My Line" - Volume 2 - 190 Pages

Artbook by Birdy Tg - 2015

© all rights reserved


"The Story behind…  The Fabulous Opera" -

English Extended Version - 34 Pages - 2020

© all rights reserved

  • " Drawing My Line " Birdy Tg Monograph - 212 Pages Artbook – 2013

  • " I Hold My Line " Birdy Tg Monograph - 350 Pages Artbook  – 2014 – Birdyland Editions

  • " I Hold My Line - Volume 1 " - 250 Pages  Artbook - 2015 - Birdyland Editions

  • "I Hold My  Line - Volume 2 " - 190 Pages  Artbook - 2015 - Birdyland Editions

  • "In the Garden of God and the Devil" – The Novel by Birdy Tg - 2016

  • "In the Garden of God and the Devil" - Monograph - Birdy Tg: Photographs & paintings - 2016

  • “The Story behind… L’Opéra Fabuleux – French Edition - Booklet 24 Pages - November 2019

  • “The Story Behind… the Fabulous Opera” – English Extended Edition – Booklet 34 Pages - January 2020

  • “Echoes of Outer Voices and Subtle Clues” – Artbook by Birdy Tg- Photographs, Paintings and Excerpts of 4 Novels by  Birdy Tg - to be issued in December 2020.

Birdy Tg's Monographs